Andrew Chatfield

Director, Arts Communication, Wesleyan University

Chloe Jones ’15 talks to Thaddeus Phillips about “17 Border Crossings” (Feb. 21)

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CFA Arts Administration Intern Chloe Jones ’15 talks to writer, director, and performer Thaddeus Phillips of Lucidity Suitcase Intercontinental about the Connecticut premiere of his solo theater work “17 Border Crossings,” taking place this Saturday, February 21, 2015 at 8pm in the CFA Theater.

What was the initial inspiration for “17 Border Crossings”?

Most of the shows I’ve made with Lucidity Suitcase Intercontinental involved traveling somewhere to make the show. The travel is done as research for the performance. For example, we did a road trip from Denver to L.A., and we dropped down into New Mexico where we tried to find all the old parts or Route 66, and we filmed stuff and took notes and developed this piece called Flamingo/Winnebago based off that trip. We’ve done that in Bosnia, Cuba, the Amazon. But what would happen is I would come back and tell people stories of things that happened that weren’t directly related to the project we were doing, and I realized I wanted to do something with all this “outtake” material that was simply about travel. It didn’t have a storyline or a plot. It was just about traveling, and then I realized all of the stories that I was remembering or finding were about border crossings.

Can you talk a little about the work itself?

Thaddeus Phillips of Lucidity Suitcase Intercontinental performs “17 Border Crossings.”
Thaddeus Phillips of Lucidity Suitcase Intercontinental performs “17 Border Crossings.”

There are seventeen different scenes or sequences. I had done solo work before but very involved, complicated stuff with video or crazy sets, and [for 17 Border Crossings] I wanted to try doing the classic Spalding Gray monologue at a desk with a microphone and a glass of water. Because I’ve used video in other work recently, I’ve been trying to do works that are much more cinematic in their theatricality but with no video—the simplest scenes possible: the movement of a chair or lights or sound. The idea is to create a very modern/contemporary style of theater but without any media that actively engages the audience’s imagination, individualizing the experience more. If you use a bunch of media, everyone’s seeing the same thing, but if you simply suggest something and fill it in with text and sound, then the way you’re seeing it is a little bit different than the way the person next to you is seeing it because it’s not fully there yet.

Other than the overarching theme of border crossing, what elements of traveling does the work address?

There’s a few: one is that modes of transportation are weird, like a plane is a very weird thing if you really think about it, so there’s a little sequence about being in a plane that tries to expose all that—what you’re not supposed to think about. Then there’s always being taken to a little square room by immigration authorities. Technically when you land, before you leave Customs, you’re not anywhere. [It’s] this weird space where you go through the passport control. You’re in an architectural space that’s been defined as nowhere in the world. Then the whole absurdity of borders themselves, like the border between Israel and Jordan was made up by Winston Churchill, and he made jokes about it, saying “I just invented a country!”

What do you see as the significance of performing this work in such a globalized world, where travel is so much more accessible than it once was and so many more people are traveling?

When you start talking about these little stories or human stories, what you have is a huge global theme but [told] through specific details about a very specific person. What the show tries to do is make very human what it is to cross a border, from being on a plane and being completely unconscious of what’s going on underneath you to people trying to get across for a better life.

Lucidity Suitcase Intercontinental: 17 Border Crossings
Connecticut Premiere
Saturday, February 21, 2015 at 8pm
CFA Theater
$19 general public; $17 senior citizens, Wesleyan faculty/staff/alumni, non-Wesleyan students; $6 Wesleyan students

An Outside the Box Theater Series event presented by the Theater Department and the Center for the Arts.

Enter to win a $200 travel Gift Certificate from Sanditz Travel Management (Feb. 18)

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Write a story (500 words max) about when you crossed a geographic border, or a border of any kind. Where did it lead you? What insights did you have?

Then, post your story on the Center for the Arts Facebook event page for 17 Border Crossings, and you will receive a free ticket to the performance. The story with the most “Likes” by midnight on Wednesday, February 18, 2015 will win a $200 travel gift certificate courtesy of Sanditz Travel Management in Middletown!

How to post your story:

1. Go to the Facebook event page here.
2. “Join” the event.
3. Under “POSTS,” where it says “Write something…” cut and paste your story.
4. Hit the “Post” button.

If you don’t have Facebook, but would like to participate, please e-mail your entry by midnight on Wednesday, February 18, 2015 to boxoffice@wesleyan.edu.

Thaddeus Phillips of Lucidity Suitcase Intercontinental performs "17 Border Crossings."
Thaddeus Phillips of Lucidity Suitcase Intercontinental performs “17 Border Crossings.”

Outside the Box Theater Series
Lucidity Suitcase Intercontinental: 17 Border Crossings
Connecticut Premiere
Saturday, February 21, 2015 at 8pm
CFA Theater
$19 general public; $17 senior citizens, Wesleyan faculty/staff/alumni, non-Wesleyan students; $6 Wesleyan students

The Connecticut premiere of 17 Border Crossings, a solo work written and directed by Thaddeus Phillips based on his travel experiences. The audience is taken to the frontiers of countries around the world in a humorous and poignant examination of imaginary lines, arbitrary passports, and curious customs.

 

An Outside the Box Theater Series event presented by the Theater Department and the Center for the Arts.

sanditz-amex-large

Montréal’s world famous Compagnie Marie Chouinard returns to Wesleyan (Feb. 6 & 7)

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CFA Arts Administration Intern and DanceLink Fellow Chloe Jones ’15 talks to dancer Lucy M. May of Compagnie Marie Chouinard about their upcoming performances at Wesleyan on Friday, February 6 and Saturday, February 7, 2015 at 8pm.

I close the heavy door softly behind me and cautiously step forward into the dark theater. On stage a woman rehearses a solo. She is tall and slender and dances with startling grace. Her long limbs slice through the space, she stops suddenly, pirouettes. With each movement she communicates something—her whole body speaking, from her gesturing hands to her quick feet. She is fierce and beautiful, every cell of her body alive and articulate.

I have come to Hanover, New Hampshire as a Wesleyan DanceLink Fellow to see Montréal’s Compagnie Marie Chouinard perform, and I have just walked into dress rehearsal. When the dance finishes, the lights come up in the theater and the company members gather on stage. They go over a few notes with the rehearsal director before heading back to their hotel to prepare for the night’s show. I can hardly wait for them to take the stage again.

Described by The New York Times as “a hurricane of unbridled imaginativeness,” Compagnie Marie Chouinard was founded by choreographer Marie Chouinard in 1990. Today the company tours all over the world.

The company first came to Wesleyan in September 2008 to perform the United States premiere of Orpheus and Eurydice. This weekend, they return to campus with the New England premiere of Gymnopédies (2013) and the Connecticut premiere of Henri Michaux: Mouvements (2005-2011).

Set to music by French composer and pianist Érik Satie, Gymnopédies began as an exploration of the duet form. “She knew she wanted to work with these erotic duets between two dancers,” says company member Lucy M. May. “That was really the first thing we did in the studio: improvise two-by-two, different couples.”

In the process of creating the work, Ms. Chouinard decided she wanted each dancer to learn Mr. Satie’s Gymnopédies and play it on the piano as part of the performance. Many of the dancers had never played the piano, but gradually, with lessons and practice, they all learned. In the finished work, the dancers take turns at the piano bench, their live music adding to the work’s curious sensuality.

Interprète/Dancer Lucy M. May performs "Henri Michaux: Mouvements." Photo by Marie Chouinard.
Interprète/Dancer Lucy M. May performs “Henri Michaux: Mouvements.” Photo by Marie Chouinard.

Henri Michaux: Mouvements began in 1980 when Ms. Chouinard came upon the book Mouvements (1951) by Belgian writer and artist Henri Michaux (1899-1984). Inspired by the book’s abstract ink drawings and 15-page poem, Ms. Chouinard decided to use it as a choreographic score.

“She brought all of the images into the studio,” says Ms. May. “We had photo copies of all the drawings, and some of them were hanging on clotheslines and others were in big piles of paper all around the place, and we spent a really intensive two weeks making all sorts of different compositions. We were exploring all the possibilities of what we were seeing.”

This literal translation of image into movement is augmented by costumes and set. Clothed head-to-toe in black, the dancers perform on a white floor against a white backdrop so that the stage becomes the book.

Mouvements was one of the works I saw performed at Dartmouth this past September. I was blown away. The dancers’ ability to recreate the ink drawings with their bodies is truly amazing—a dazzling exactitude.

“There’s a balance between a high level of demand—of precision and detail and rigor—and then this amazing amount of freedom,” says Ms. May of Ms. Chouinard’s work.

Indeed Ms. Chouinard’s choreography strikes me as simultaneously precise and reckless, raw, free. The dancers move with extreme clarity—so much of the choreography impossibly intricate, detailed, and fast—yet there is something of abandon in their performance, something intensely wild.

As I watched the performance that evening at Dartmouth, I was riveted by each dancer, each movement, each moment. My eyes did not drift once from the stage. My mind never wandered. I found myself fully immersed in the world of each dance.

They are strange worlds, exciting and new and daring.

Compagnie Marie Chouinard
Friday, February 6 and Saturday, February 7, 2015 at 8pm
CFA Theater
$25 general public; $22 senior citizens, Wesleyan faculty/staff/alumni, non-Wesleyan students; $6 Wesleyan students

Pre-performance talk by DanceLink Fellow Chloe Jones ’15 on Friday, February 6, 2015 at 7:30pm in CFA Hall.

Dine/Dance/Discover on Saturday, February 7, 2015 at 5:30pm in Fayerweather Dance and Theater Studios—add $15 to your regular ticket price. Click here to purchase Dine/Dance/Discover online.

When Photography Meets Sculpture (Jan. 29 – Mar. 1)

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CFA Arts Administration Intern Chloe Jones ’15 talks with Assistant Professor of Art Sasha Rudensky about the “Picture/Thing” exhibition, which opens in the Main Gallery of Ezra and Cecile Zilkha Gallery on Thursday, January 29, 2015. Admission to the gallery is free.

Assistant Professor of Art Sasha Rudensky and Professor of Art Jeffrey Schiff have teamed up to bring us Picture/Thing, an exhibition in the Ezra and Cecile Zilkha Gallery that explores the relationship between photography and sculpture through the work of ten groundbreaking artists: Kendall Baker, Isidro Blasco, Rachel Harrison ’89, Leslie Hewitt, Jon Kessler, Anouk Kruithof, Marlo Pascual, Mariah Robertson, Erin Shirreff, and Letha Wilson.

These ten artists create hybrid objects that challenge and expand traditional definitions of photography and sculpture. The objects in the exhibition take myriad forms, as each artist has a unique approach to material, technology, and presentation.

Upon entering the gallery, one is greeted by the work of Erin Shirreff. “Hers are digital prints that have been placed in somewhat traditional frames,” says co-curator Ms. Rudensky. “But when you look closer you discover this whole other reality. For one thing the paper is not flat. It’s three dimensional, and what she’s capturing are sculptures, or forms that are very reminiscent of mid-century sculpture, so she’s playing with this lateral movement back and forth between photography and sculpture.”

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Anouk Kruithof, “Façade,” 2014, inkjet prints, plexiglass, polystyrene, cellophane foil, bricks, 55.5 x 43.3 x 39.4 inches, courtesy of the artist and Boetzelaer | Nispen.

Turning around one sees a free-standing “picture/thing” by Anouk Kruithof. Its styrofoam blocks and iridescent glass glisten. “It’s a very mysterious piece,” says Ms. Rudensky. “In part because as you walk around it, the view and the content change dramatically. Because of the play of light that happens with the reflectedness of the materials she’s using, there’s this revelatory experience that continues as you circumnavigate the piece.”

Venturing further into the gallery, one encounters the work of Mariah Robertson. “She’s someone who works with traditional photographic processes,” says Ms. Rudensky. “She makes darkroom prints in a time when very few people are making darkroom prints, but then does these wild things with them by making 164 foot photographs that are suspended in space.”

Picture/Thing transforms the gallery into a world of rare objects. Each artist’s work is stunningly different from the next.

While most of the artists hail from Brooklyn and Harlem, their work speaks to a far-reaching trend in contemporary art.

“The idea for the exhibition came together rather quickly, in part because the phenomenon is very much there and present,” says Ms. Rudensky. “Artists are looking for new ways of dealing with traditional media.”

Picture/Thing will be on display in the Main Gallery of the Ezra and Cecile Zilkha Gallery through Sunday, March 1, 2015.

Interested to hear Ms. Rudensky speak in more detail about the exhibition? She and co-curator Jeffrey Schiff will give a talk at 5:30pm this Thursday, January 29 as part of the exhibition’s opening reception.

Spring Events Include World, New England, and Connecticut Premieres

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Wesleyan University is a center for creativity and innovation, and one of the best places for our community to come together to participate in that energy is at the Center for the Arts. Our year-long exploration of Muslim Women’s Voices in performance continues on February 27 with a rare opportunity to see a dance company coming to Middletown from the northernmost tip of Sumatra, Indonesia. The dances of Tari Aceh! feature quick, highly-coordinated movements of hands, heads, and torsos, punctuated by lively body percussion. It’s unlike anything you’ve ever seen before. And on April 17 and 18, you can get a first look at a theatrical work-in-progress by playwright and actress Leila Buck ’99 that was commissioned for Muslim Women’s Voices.
Rachel Harrison, "AA," 2010, wood, bubble wrap, cardboard, acrylic, tennis shirt, A/V cart, DVD player, speakers, projector, extension cord, five hair rollers, pack of gum, ear plugs, American Apparel video, color/sound (2009), 80 x 70 x 70 inches. Courtesy of Greene Naftali Gallery.
Rachel Harrison, “AA,” 2010, wood, bubble wrap, cardboard, acrylic, tennis shirt, A/V cart, DVD player, speakers, projector, extension cord, five hair rollers, pack of gum, ear plugs, American Apparel video, color/sound (2009), 80 x 70 x 70 inches. Courtesy of Greene Naftali Gallery.

In the Ezra and Cecile Zilkha Gallery from January 29 to March 1, Studio Art faculty members Jeffrey Schiff and Sasha Rudensky curate Picture/Thing, an exhibition featuring the work of ten artists working at the intersection of photography and sculpture.

In April and May, we present “The Connecticut Meets the Nile,” a two-part happening that will highlight two great rivers. On April 10, Crowell Concert Hall hosts The Nile Project, an all-star gathering of musicians who live in the countries that border the Nile River and have come together to create music that draws attention to the environmental issues of a historic river that sustains millions of people. Then on May 9, at Middletown’s Harbor Park, Wesleyan and regional partner organizations present Feet to the Fire: Riverfront Encounter, an afternoon of music performances, visual art, and kid’s activities that will engage our community with our own beautiful river.
And throughout the winter and spring, you can put your finger on the pulse of what’s inspiring our newest artists by visiting the Senior Thesis Exhibitions in Zilkha Gallery, or by attending thesis performances by music, dance, and theater students performed throughout the CFA.
It’s all here for you. We hope you’ll join us.
Pamela Tatge
Director, Center for the Arts

Theater Major Sivan Battat ’15 on her Senior Capstone Project “The Serpent” (Dec. 4-6)

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CFA Arts Administration Intern Chloe Jones ’15 talks to Theater major Sivan Battat ’15 about her Senior Capstone Project, “The Serpent,” created in collaboration with her seven person ensemble, design team, and faculty advisor, Professor of Theater Yuri Kordonsky.  

Can you talk a little about the history of “The Serpent” and the play itself?

This play emerged from the Open Theater and was created through a long process of exploring themes of the Bible. Playwright Jean-Claude van Itallie did extensive interviews with each of his actors, and all their text ended up in the script. It’s like a mash-up of biblical narrative and contemporary experience. The play was traditionally done as a kind of a Eucharist, a communion between actors and audience. It’s labeled The Serpent: A Ceremony. Mr. van Itallie wanted it to be a ceremony that reflected the lives and the minds and the experiences of the people performing it. That was the intention of The Serpent from day one. So our production does that. A lot of the text is the actors’ and was generated through a series of devising exercises throughout the first half of the semester. It’s a combination of Mr. van Itallie’s text, text from the Bible that he put in the script, and then our own words to replace some of the experiences in it that were maybe outdated for us or not as accessible.

Why did you choose “The Serpent” for your Senior Capstone Project?

I chose this for my capstone because I was interested in devised theater processes. Devised theater is ensemble-generated material that you then use to create a piece. A playwright or director doesn’t come in with the material, and often it will happen without a director. I was interested in the role of director in devised theater, and I was interested in the elements that make a strong ensemble. What are the things that I, as a director, have to do to make this feel like a safe space, to make this feel like an ensemble, to make this group of people function as one unit that can create? So I was curious about those things, but most devised processes are so long-term. You have to explore for so long and generate for so long, and I was worried that, realistically, with college actors and everyone doing a million other things, to do a legitimate devising process in one semester wouldn’t be possible. So I decided to find a text that I could begin with, as the foundation, and then riff and devise off of the text, and The Serpent was the perfect tool for that. It’s a very flexible text that allowed us to riff in different directions and explore and really dive into the themes of it and generate and then plug back into the text.

How did you cast the ensemble?

I cast it saying I was looking for writers, dancers, actors, musicians, anyone. More than anything I wanted people who I really wanted to work with, people who I wanted in the room every day and who would bring themselves to the process and fearlessly try.

What was your process like?

The whole process was very collaborative. The first half of the semester was really about playing, and while we maybe didn’t have as much time to put the thing together as we would have loved, having the first half of the semester to just play was awesome—to be able to say, for example, let’s all bring in ten images of what comes to mind when you hear “The Garden of Eden,” and then pick one image and make a movement score that represents that image to you in some way, and then someone else make sound for that movement score. It was a process of picking apart our stereotypes of God and challenging our stereotypes of what Eve looked like or what she felt. I remember one of my favorite rehearsals—I brought in an apple and told the actors to respond as Eve might have responded and that we were going to go until they couldn’t think of any other ways to respond. So one by one they took the apple—like a Whose Line Is It Anyway? type of improv game—and they each took a bite and responded a different way. We went for an hour and a half doing this.

What have you learned from the process?

I’m a little concerned that this piece is not very accessible, and I think one of the big things that I’m taking away from this is that I want to make work that is accessible. It bothers me if things are inaccessible, and that’s an important thing to have learned about my own work. I’ve also learned a lot about ensemble building and the tools that are most helpful in making an ensemble. Something I’m always working on is how to negotiate the relationship between actor and director. I’m always learning more about that. With every rehearsal I learn something new. And I’ve learned so much from them—each of the actors and designers has brought so much of themselves to the process.

At the end of the day, what is this play about for you?

I think it’s about being in the middle. I think it’s about transitional moments in our lives—the moment when we bite, the moment when we kill, the moment when we grow up. It’s about being between the beginning and the end, and always this experience of middle-ness because that’s what life is—there are transitional moments, but there are never stops.

The Serpent: Senior Capstone Project by Sivan Battat
Thursday, December 4 through Saturday, December 6, 2014 at 8pm
Patricelli ’92 Theater

FREE! Tickets required. Tickets will be made available on the day of each performance at the Wesleyan University Box Office. Off-campus guests may call the box office at 860-685-3355 after 10am to reserve tickets to be held in their names until fifteen minutes prior to curtain. On-campus guests must pick up their tickets at the box office. There is a two-ticket limit per person for free ticketed events.

“Creative Stages” to Premiere on CPTV on Fri. Nov. 28 at 8pm

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creativestages_eventConnecticut Public Television (CPTV) premieres the original documentary Creative Stages, hosted by Ed Wierzbicki, on Friday, November 28, 2014 at 8pm. This half-hour special is devoted to the arts, as Mr. Wierzbicki takes viewers “inside the creative process” while interviewing Connecticut artists and exploring local arts organizations, including Wesleyan University’s Center for the Arts.

Hear from Pamela Tatge, Director of the Center for the Arts, as well as from visiting artists including Margaret Jenkins (Artistic Director of San Francisco’s Margaret Jenkins Dance Company), Anna Snow, Kerry Andrew, and Sarah Dacey of London’s Juice Vocal Ensemble, and Juliana Romano ’04 (featured in the exhibition The Alumni Show II in the Ezra and Cecila Zilkha Gallery), about the importance of this creative space to Wesleyan University and its students, as well as to the art world at large. The segment also includes footage of Liz Lerman Dance Exchange’s Ferocious Beauty: Genome, the Wesleyan Theater Department production of The Seagull, and a co-taught course by Professor of History and East Asian Studies William Johnston and Visiting Artist in Dance and the College of East Asian Studies Eiko Otake.

The program will also feature Javier Colon, the Yale University Art Gallery and artist Red Grooms, Waterbury’s Palace Theater and the Waterbury Arts Magnet School, and the Haven String Quartet at New Haven’s Lyric Hall.

‘Tis the Season! Wesleyan University Orchestra Spreads Holiday Cheer (Nov. 22)

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CFA Arts Administration Intern Chloe Jones ’15 talks to Adjunct Assistant Professor of Music Nadya Potemkina, Isabel Csete ’18, David Lopez-Wade ’18, and Rachel Rosenman ’17 about the free Wesleyan University Orchestra concert taking place on Saturday, November 22, 2014 at 8pm in Crowell Concert Hall. 

orchestra_eventWinter is in the air, and the Wesleyan University Orchestra is here to usher in the holiday season. This Saturday, November 22, 2014 at 8pm in Crowell Concert Hall the Orchestra will perform an evening of popular holiday classics.

Free and family friendly, the concert will feature music from Pyotr Ilyich Tchaikovsky’s The Nutcracker, Leroy Anderson’s A Christmas Festival, Mykola Leontovych’s Carol of the Bells, and an orchestral suite from Disney’s Frozen.

Directed by Adjunct Assistant Professor of Music Nadya Potemkina, the Wesleyan University Orchestra is comprised of students, faculty, and members of the Middletown community. Together they are a group of roughly 50 musicians.

“It’s a really friendly atmosphere,” said violinist Isabel Csete ’18. “Everyone is here to have fun and to do what they love.”

This is the Orchestra’s second concert of the semester, and markedly different from their first, which featured a selection of movements from several large-scale symphonic works of a more serious tone than the holiday tunes of this Saturday’s concert.

“I want my students to be able to learn all styles and genres of music,” said Professor Potemkina. “You have to play The Christmas Festival at least once in your life as a performer in a symphony orchestra. It’s a staple of the popular repertoire.”

“It’s songs we know,” said clarinetist Rachel Rosenman ’17. “And it’s fun to sing along.”

Ms. Potemkina will invite the audience to sing along during The Christmas Festival, a collection of famous carols.

Alongside these holiday oldies is a suit from Disney’s recent film Frozen, released in 2013.

“There are a lot of different characters in Frozen, and you hear them in the different songs we play,” said Ms. Rosenman. “All of their voices come out in the music.”

“Frozen is really fun because it’s so new,” said clarinetist David Lopez-Wade ’18. “Everyone knows it.”

“It’s a cheerful concert,” said Professor Potemkina.

What better way to kick off the holiday season?

Fall Photos: Artist Talk – Faye Driscoll

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“A startlingly original talent” (The New York Times), choreographer and director Faye Driscoll is a Creative Campus Fellow at Wesleyan during the fall of 2014, researching and developing “Thank You For Coming: Play,” one of a series of works she will be creating over the next several years. Photos from her artist talk on Thursday, September 11, 2014 in the Cross Street Dance Studio. Images by Sandy Aldieri of Perceptions Photography. Click here to view the full album on flickr.

Tony Award-Winning Musical “In the Heights” Returns to Wesleyan (Nov. 12-16)

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CFA Arts Administration Intern Chloe Jones ’15 talks to Sara Guernsey ’15, Wesley Martinez-Close ’15, Jillian Roberts ’15, Eury German ’16, Ari Markowitz ’17, and José Louis Sanchez ’18 about their involvement with “In the Heights,” which is being presented by the Theater Department tonight through Sunday, November 16, 2014 in the CFA Theater.   

Presented by the Theater Department in collaboration with the Music Department, Wesleyan’s production of In the Heights opens tonight.

With book by Wesleyan’s Shapiro Distinguished Professor of Writing and Theater Quiara Alegría Hudes, In the Heights is the winner of the 2008 Tony Awards for “Best Musical,” “Best Original Score” (Lin-Manuel Miranda, Theater ’02), “Best Choreography,” and “Best Orchestrations” (Alex Lacamoire and Bill Sherman, Music ’02).

Mr. Miranda wrote the first draft of In the Heights in 1999 as a sophomore at Wesleyan. Wesleyan’s student theater company Second Stage presented the play in April of that year. Four Wesleyan students—seniors at the time—then approached Mr. Miranda and proposed the play be expanded to a Broadway production.

Nine years later, in March 2008, In the Heights premiered on Broadway at the Richard Rodgers Theatre.

In the Heights tells the story of a close-knit community on the brink of change in New York’s Washington Heights neighborhood. “I think it was mainly the story that made me want to audition,” said Eury German ’16, who plays the male lead Usnavi, and an ensemble member named Ángel.

Wesleyan’s production brings together students with diverse performance backgrounds.

The cast of "In the Heights." Photo by John Groo.
The cast of “In the Heights.” Photo by John Groo.

“We have dancers, we have singers, we have actors, and not all of us were good at everything,” said Sara Guernsey ’15, who plays Camila Rosario. “But we were able to teach each other.”

“I learned a lot of choreography skills that I didn’t know before,” says José Louis Sanchez ’18, who plays Piragua Guy. “I think that’s the beauty of this process—all of us were strong in one suit and through this process we were able to grow in others.”

“Our director, Cláudia Tatinge Nascimento, often told us that [this is not the Broadway production], that this is going to be our own different version,” says Ari Markowitz ’17, who plays Sonny. “I’m glad that I hadn’t seen the Broadway production before because I got to come at it with a blank slate, and everything I saw forming was purely ours without any preconceived notions about what the show should be.”

“I went into it with a very open attitude,” said Wesley Martinez-Close ’15, who also plays Usnavi and a member of the ensemble named Jesús. “It was all new to me.”

Ghostlight Records released the original cast recording from the Broadway production in June 2008, which won the 51st annual Grammy Award for “Best Musical Show Album.”

“Two weeks before school started I was listening to the soundtrack nonstop,” said Mr. German. “The music is unlike any other musical.”

Jillian Roberts ’15 and Naomi Wright ’17 co-choreographed all of the dancing in the production.

“The movement in the show is a fusion of hip-hop, Latin, and Caribbean dance,” said Ms. Roberts. “Naomi and I combined our dance histories, knowledge, and vocabulary to assemble a body of choreography that both represents the fusion of cultures in the show and also the styles of music that are represented in the show.”

Wesleyan’s production of In the Heights has been months in the making.

“I’m really excited for everyone to have their hard work displayed for the larger community,” said Ms. Roberts. “A show that is this multicultural and diverse doesn’t often show up on a main stage university theater, and it’s exciting for us to be a part of this kind of unique theater production.”

“This is by far the most exciting thing that any of us are going to do this semester,” says Mr. German. “I am, deep down, so excited for this to come together.”

Theater Department
In the Heights
Wednesday, November 12 through Saturday, November 15 at 8pm
Sunday, November 16 at 2pm and 8pm
CFA Theater
$15 general public; $12 senior citizens, Wesleyan faculty/staff/alumni, Middletown residents; $7 all students
Click here to purchase tickets online for the Sunday evening performance.